Textile Research Centre

Textile Research Centre The TRC in Leiden, The Netherlands, is an independent study centre for textiles and dress.
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This rare charuga (TRC 2022.0914a-f) from northern Iraq was made by Suzan Sukari of the town of Qaraqosh, expressly for ...
03/06/2026

This rare charuga (TRC 2022.0914a-f) from northern Iraq was made by Suzan Sukari of the town of Qaraqosh, expressly for the TRC.

There are six traditionally embroidered pieces in this festive garment, and it took two years for the garment to finally reach the Netherlands, thanks to the perseverance of many friends, especially Fatima Abbadi. (Featured on the picture)

You can learn more about this fascinating--and endangered--garment in past TRC blogs.

And come to our Middle Eastern embroidery study day, Friday, 12 June!

This rare charuga (TRC 2022.0914a-f) from northern Iraq was made by Suzan Sukari of the town of Qaraqosh, expressly for ...
03/06/2026

This rare charuga (TRC 2022.0914a-f) from northern Iraq was made by Suzan Sukari of the town of Qaraqosh, expressly for the TRC.

There are six traditionally embroidered pieces in this festive garment, and it took two years for the garment to finally reach the Netherlands, thanks to the perseverance of many friends, especially Fatima Abbadi.

You can learn more about this fascinating--and endangered--garment in past TRC blogs.

And come to our Middle Eastern embroidery study day, Friday, 12 June!

Boerhaavelaan 6: A brief history of the building and the people who lived there.In April 2026, the Textile Research Cent...
03/06/2026

Boerhaavelaan 6: A brief history of the building and the people who lived there.

In April 2026, the Textile Research Centre (TRC) moved from its former address along the Hogewoerd in the centre of Leiden, into a new 'home'. It is an early-twentieth century urban villa just behind the main Leiden railway station (Fig. 1). The house, at Boerhaavelaan 6, was occupied by the same family for more than one hundred years.

The last resident, Mrs Hélène Nauta-Barge, lived there for her entire life, almost uninterruptedly, until she died in 2023, aged 99. Since then it has become the property of the Stichting Monumentenbezit, which now rents it out to the TRC upon the recommendation of Leiden City Council,

The house has a fascinating background and reflects the rich, and sometimes turbulent history of Leiden. At the TRC we are fortunate to work in this beautiful building, and we are also pleased with the help of the Nauta-Barge family in learning about the history of the building and its former occupants.

Herman Boerhaave

The area where the house was built used to be part of the municipality of Oegstgeest until 1896, when it was added to Leiden. This explains the original name of the street, laid out in 1906, namely the Oegstgeesterlaan, which allegedly was given to the new street in recognition of the area's history.

The street received its current name in 1931, after a statue (Fig. 2) of Professor Herman Boerhaave (1668-1738), a famous 17th and 18th-century botanist, chemist, and physician at Leiden University, was placed at the beginning of the street, opposite the new academic hospital (which had opened in 1928) and some fifty metres from Boerhaavelaan 6.

Previously, the statue had stood at the entrance to the former academic hospital (opened in 1873), the same building which in 1937 opened its doors again as the Rijks Ethnografisch Museum, now known as the Wereldmuseum.

Early occupants

Boerhaavelaan 6 was designed around 1909 by architect Willem Fontein (1864-1949) for Mr. P.J. van Hoeken, a timber merchant. However, his wife apparently did not like the house and its location.

They moved out, and in 1920 the property was purchased by the young Professor Ton Barge (Fig. 3), who the previous year had been appointed as Professor in Anatomy and Embryology at Leiden University. He was born in Semarang, in the Dutch East Indies, as the son of a coffee merchant with an English ancestry (Manchester).

In the same year that he accepted his new position at Leiden University, he married Theresia (Trees) Dreesmann (Fig. 4), daughter of Anton Dreesmann (1854-1934), the co-founder of the Vroom & Dreesmann chain of department stores (V&D).

Shortly after buying the property, Barge commissioned the architect Hendrik Jesse (1860-1943) to considerably expand the house (Fig. 5). The work was completed in 1926.

The house

Members of the Nauta-Barge family told us that before the war the interior of the house was very classic, featuring many antiques and presenting a distinguished appearance (Fig. 6). The house was well-organised and spaciously laid out. The kitchen and utility room were the domain of the kitchen maid and chambermaid.

Many of the walls were covered with a wooden frame that supported a jute cloth and layers of paper. This type of wall covering (betengeling in Dutch, often referred to as battening or batten work) was widely used in Holland and beyond until the mid-20th century. The betengeling is still extant in many places, including the large ground floor rooms, but had to be drastically restored last year in the small ground floor room at the front. Actually, this work was used and filmed by the decorators to preserve the knowledge of this old technique. Various layers of the betengeling are intentionally left exposed, in order to show TRC students and others this technique. For more information on the betengeling in Boerhaavelaan 6, click here.

Until the 1950s, a central bell board indicated in which room a bell had been rung. In the post-war period however, things changed, the number of people living in the house increased and the kitchen became the centre of family life.

The house still has a large garden, and at the back there is a garden pavilion (Figs. 7 and 8). This charming little, wooden construction originates from Amsterdam. It allegedly dates to the mid-19th century and until 1903 stood on a bridge across the Singel, between de Leidsestraat and Heiligeweg (near the Koningsplein).

The owners sold waffles under the canopy and slept in the tiny attic. When the bridge was widened, the pavilion was taken down and reconstructed at Anton Dreesmann's villa ('Looverhof') in Bussum, at the back of the garden. After the war it was moved to Leiden where it still stands.

Life at Boerhaavelaan 6

Prof. Ton Barge, according to the grandchildren, was an amiable and remarkable man. In 1927, with four of his university friends, he founded a walking club, ‘de Beentjes’, which met each week (Fig. 9). Actually, this informal walking club still exists (their bulletin is called 'Op pad met de Beentjes').

Ton was very successful in his field and also active in university management. He served as the Rector Magnificus (Chancellor) of Leiden University between 1937 and 1938). There is a drawing (Fig. 10) made by Professor Johan Huizinga (the author of the famous book Herfsttij der Middeleeuwen, published in 1919) for his friend, Ton Barge, on the occasion of the Dies Natalis dinner on 8 February 1938. It illustrates the various roles and functions of Prof. Barge, including his campaign to replace Boerhaave's statue and to rename the Oegstgeesterlaan to Boerhaavelaan, and also his work for the Lakenhal Museum and the Stedelijk Gymnasium.

He and his family were devout Catholics (as were his in-laws of the Dreesmann family) and he was a member of de Eerste Kamer (Senate) between 1937 and 1940, and again from 1945 to 1949, representing the Rooms-Katholieke Staatspartij (before the war) and the Katholieke Volkspartij, after the war. His eldest daughter Susanna (1920-2022) married a son of the prominent Catholic politician Rad Kortenhorst (1886-1963), who for fifteen years was the chairman of the Tweede Kamer (House of Representatives). Ton Barge also advised on the Leiden municipal museum De Lakenhal, the Leidse Schouwburg (Theatre) and the local Stedelijk Gymnasium (Grammar School). In his study (Fig. 11), at the back of the ground floor overlooking the garden, he meticulously prepared his lectures, and he was renowned for his loquacity. His contemporaries used to call him "The Rembrandt of the Spoken Word."

The couple had four children: Susanna (Suus, 1920), James (Jim, 1922), Hélène (Hélènetje, 1924), and Frederic (Fred, 1927). Professor Barge was an outspoken opponent of the racial theories of the German N***s, who occupied The Netherlands in 1940-1945. He did not hide his views, and he spoke out openly during a lecture on 26 November 1940. A plaque to the right of the front door of Boerhaave 6 (Fig. 12), placed on 26 November 2014, commemorates his speech.

On the same day, comparable plaques were placed elsewhere in Leiden, to mark anti-Nazi lectures read that day by two of Barge's colleagues, namely by Prof. Rudolph Cleveringa (1894-1980), who lived nearby, at Rijnsburgerweg 29, and by Prof. Lambertus van Holk (1893-1982; Plantage 26).

All three were subsequently arrested by the German authorities. Prof. Barge was arrested on 4 May 1942 and held hostage in Sint Michelsgestel, Noord-Brabant, until December 1942. After his release he and his family moved between various addresses. Barge and the two other Leiden professors survived the war.

Prof. Barge's house along the Boerhaavelaan was confiscated by the German authorities and from early 1943 until late 1944 served as the Ortskommandantur of the German Wehrmacht in Leiden They also confiscated the house next door (Boerhaavelaan 4) for the Feldgendarmerie. Many of the rooms in Boerhaavelaan 6 were numbered (the numbers still survive on the doors on the ground floor).

The cellar sometimes served as a prison. It was only after 45 years that Pieter R. from Leiden came to tell about his experiences during the war as a 16-year old. He had been imprisoned in the cellar. Until the 1990's he didn't dare to walk down the street and look at the house. Afterwards, Pieter would occasionally visit the family for a coffee at the kitchen table.

But the new German residents perhaps had no idea of the link that the house and the Barge family had with Dutch resistance. Barge's house still has a small hiding space on the second floor. Several children could be accommodated there behind the bed, where the young Hélène would pretend to have diphtheria.

After the war

After the Second World War, in 1949, Hélène married Jan Nauta (1922-2013), who trained as a heart surgeon in Leiden and subsequently became co-founder of the medical faculty and the Thorax Centre in Rotterdam. During the Second World War, Jan had been active in the resistance. He was betrayed in May 1944 and ended up in the German concentration camp of Sachsenhausen, where he was liberated in April 1945 by Russian troops. Hélène also held her own during the war. She once brought an Allied pilot to safety on her bicycle after an emergency landing near Leimuiden, close to Leiden.

Jan and Hélène met after the war when the NBBS (the travel agency for students) was re-established in Leiden and they were both working there. Hélène and Jan had five children.

After the war, the house was returned to the family, and Prof. Barge also returned to Leiden. Fascinating is the film *Zes Jaren* (see Youtube), first shown in 1947, as a tribute to student resistance in Leiden against the German occupation. The name of Hélène Barge appears in the credits as one of the actors who played themselves.

In the same film, it so happens, we also see Winston Churchill, who on 10 May 1946 received an honorary doctorate in Leiden (Figs. 12 and 13). He was sitting on a chair, with embroidered upholstery, that was borrowed from among the furniture of Boerhaave 6. Churchill's promotor was Prof. Cleveringa.

The Nauta-Barges

After the war and due to a housing shortage, the house became very crowded. Besides the parents—Ton and Trees—there was the still unmarried Fred and the families of Jim and Hélène. The fourth child, Suus, soon moved out. Ton Barge died in 1952, and his widow, Thérèse, moved out in 1956. She was a spirited woman who had always been active as a volunteer helping the poor and the blind. After her husband's death she left for Tanzania for a year, where she worked as a nurse, often under challenging conditions. She spent much time preparing books for the blind with the help of a braille typewriter. She was the aunt of Cécile Dreesmann (1920-1994), a famous textile artist who published widely on the subject of embroidery and many of whose books are included in the TRC library.

The rooms in the house acquired ever-different purposes and occupants. For instance, the large en-suite room on the first floor was split into two bedrooms. On the ground floor, the en-suite space has always been divided into a sitting room at the front and a dining room with a conservatory at the rear. The sitting room was used for receptions and festivities, such as Sinterklaas evenings.

In the dining room stood an imposing cabinet with Chinese porcelain. Before the war, dinners were held there with white tablecloths, lots of silver, and table service. Later, space was created for table tennis and a TV corner. After Barge's death in 1952, his study at the back of the ground floor first became a family room for the Nautas and later the study for Jan Nauta.

The room next to the front door served for a time as a bedroom for grandmother Thérèse, featuring a life-sized painting of the Virgin Mary with Child. Later it became a ‘playroom’, sewing room, junk room, and medical library. This space was eventually used for many years by Jan Nauta, by then a grandfather and retired, as a workspace for the family archive that he kept at the very top of the house.

Hélène always paid a lot of attention to the back garden, with its flower borders all around the large lawn. There was the garden pavilion, but also two gas lanterns that were rescued from along the Rapenburg canal in the centre of Leiden. The sunken central section of the garden was once an ideal ice rink for the children (although not so very good for the grass).

In later years, Hélène would feed the seagulls in the garden. She really liked them, and they liked her. Eventually, all those seagulls would nest on the roof. The resulting disturbance (and filth) in the adjoining street was full-page news in the national newspaper the NRC: 'Ook een broodje sambal jaagt the meeuw niet weg" ('also a chili hot sauce sandwich does not scare the seagull away'; NRC 7 July 2006). But although the journalist lived across the street, he never found out why the gulls were so attracted to the area.

The family that for so many years was linked to the house added this remark:

Ultimately, the house was intensively inhabited by the Nautas for over 70 years, ever since they got married in 1949. Because of the many memories—including, for example, ice skating in the garden, romantic dinners in the garden pavilion, and the many Sinterklaas evenings—saying goodbye was not easy for the four children and twelve grandchildren of the Nautas. They searched for a long time for a dedicated new owner with an eye for the historical character of the property. The combination of Stichting Monumentenbezit and the TRC has fully met that wish.

Willem Vogelsang, 3 June 2026

Indigo-dyed textile samples from Taiwan, by Frieda Chen, TRC intern.  In 2019, the TRC received several tie-and-dye samp...
03/06/2026

Indigo-dyed textile samples from Taiwan, by Frieda Chen, TRC intern. In 2019, the TRC received several tie-and-dye samples from Zhuo Ye Cottage (Taiwan) (TRC 2019.2177, 2178, 2179, 2180, 2181, 2182). The textiles are dyed with indigo, a natural dye extracted from plants such as Strobilanthes cusia (known as “Malan” in Taiwan). Other plant sources also referred to as indigo include species from the legume family (Indigofera tinctoria L.) and the knotweed family (Polygonaceae), such as Polygonum tinctorium Aiton, also known as Persicaria tinctoria (Aiton) H. Gross.

Indigo is a widely used dye because it produces a deep blue colour that lasts well over time. Among natural plant dyes, indigo is one of the few that needs a special fermentation and chemical process to make the dye work. It cannot be produced in the way that is applied to most of the other dye plants, such as madder, by simply boiling or soaking the plant (Lai, 2016).

The process of making Indigo (Taiwan):

In Taiwan, the production of indigo dye (Fig. 1) consists of turning the leaves into a special kind of “blue mud” (藍靛 lán diàn, 藍泥 lán ni) that can dye a fabric. To do so, firstly the leaves are soaked in water to release their colour. Then, substances such as lime are added and the liquid is stirred in order to introduce oxygen. This causes a blue pigment to form which sinks to the bottom. After resting for 1-2 days, the blue mud sediment is collected and turned into a paste. Finally, the paste is fermented with ingredients such as ash water, sugar or alcohol, to create a dye bath that can be used to colour the textiles (Figs. 2-4).

In terms of dying techniques in Asia, indigo dyeing often involves resist methods, which mean creating patterns by controlling where the dye can and cannot reach the fabric, by sewing or twisting the fabric in certain ways.

For example, tie-dye (綁染 bǎng rǎn) is made by tying parts of the fabric tightly so that the dye cannot enter the covered areas. This often creates circular or radial patterns. A sample from the TRC shows this clearly, where the fabric is tied and dyed to form a symmetrical, radiating design (see Fig. 5, TRC 2019.2179). Other common methods include clamp dyeing (夾染 jiá rǎn), which means using boards or sticks to press the fabric, creating more geometric patterns (see Fig. 6, TRC 2019.2182). Stitch dyeing (縫染 féng rǎn), involves sewing the fabric and pulling the threads tight before dyeing, which creates more detailed designs.

History (Asia)

Indigo dyeing has a long history across Asia. Rather than being unique to one place, it developed in different regions in slightly different ways. In Japan, for instance, indigo dyeing, known as aizome (藍染め), became highly refined during the Edo period (1615–1868) in the Awa domain (Tokushima). Because of its high quality, Awa indigo was distributed across the country and became an important economic export product from the 18th century (Kogei Japan, n.d.). This distinctive deep blue came to be widely recognised as “Japan Blue,” a term used to describe Japan’s characteristic indigo colour. The TRC collection includes Japanese indigo-dyed handkerchiefs featuring traditional patterns and motifs (see Figs. 7–9, TRC 2026.0314, TRC 2026.0320). Although it is uncertain whether they were made with Awa indigo, they still demonstrate key characteristics of Japanese indigo dyeing traditions.

History (Taiwan):

Indigo dyeing in Taiwan is believed to have been introduced by the Dutch in the 17th century. During the Qing dynasty (1644-1912), indigo plants were cultivated on a large scale, and indigo became one of Taiwan’s most important export products. Over time, indigo dyeing developed into a significant part of local production and daily life. However, this changed in the early 20th century when synthetic dyes became available. Because they were cheaper and easier to use, traditional indigo dyeing gradually declined (Liu, 2001).

In Taiwan, indigo dyeing is often linked to Hakka communities, especially through their “blue shirt” (藍衫 lan shan). Originally worn for work, these shirts are durable, practical and easy to maintain. Indigo-dyed fabrics are also believed to help repel insects, which may have been especially useful for Hakka communities living in hilly areas (Hou et al., 2020). Over time, they became a symbol of Hakka identity and spirit.

Today, indigo dyeing is used less in daily life, but it remains an important form of cultural heritage in Taiwan (Liu, 2001), particularly among Hakka communities. For example, the National Museum of Taiwanese History holds an indigo-dyed Hakka garment in its collection (sample no. 2003.001.0715 ; see Fig. 10), providing an example of traditional Hakka indigo-dyed clothing.

30 May 2026

Frieda is a Master’s student in Asian Studies at Leiden University and an intern at the Textile Research Centre (TRC). With a background in archaeology in Taiwan, she is interested in how materials connect to human behaviour. Through working with textiles and indigo dyeing, she is still exploring whether she is a weaver, a dyer, or simply a researcher.

References

Hou, J.-Z., Hsiao, P.-C., Lu, C.-T., Yin, W., Huang, Y.-T., & Lin, C.-M. (2020). The research of natural indigo dyes on color performance and antibacterial properties on toddler clothing. Journal of the Hwa Gang Textile 27(3), 183–189.
Kogei Japan. (n.d.). Awa indigo dyed cotton textiles (Awa shōai shijira ori).
Lai, Z. J. (2016). The research of origin and promotion of Indigo arts in Taiwan (Master’s thesis, Nanhua University) [in Chinese]
Liu, Huan-yueh. (2001). Taiwan Hakka ethnic history: Folklore. Nantou: Taiwan Provincial Documents Committee. [in Chinese]
Ministry of Culture. (n.d.). Indigo dyeing techniques.
Zhuo Ye Cottage Indigo Dyeing Workshop. (n.d.). About indigo dyeing.

Illustrations:
Fig. 1. Process of indigo dye production. Source: Zhuo Ye Cottage Indigo Dyeing Workshop. Retrieved from https://www.joye.com.tw/activity/about.php?PKey=11
Figs. 2, 3, 4. Fermentation process and dyeing of Indigo in Japan. Pictures taken at the Institution of Arts and Skills in Tokoushima prefecture and of the artisan Sayoko Matsueda in Kuyshu, Fukuoka in the year 2000.
Fig. 5. Tie-dye sample, cotton dyed with natural indigo. Taiwan, 21st century (TRC 2019.2179).
Fig. 6. Tie-dye sample, cotton dyed with natural indigo. Taiwan, 21st century (TRC 2019.2182)
Fig. 7. Japanese indigo-dyed textile with wave pattern. 21st century (TRC 2026.0314).
Fig. 8. Japanese indigo-dyed handkerchief with bird motif, 21st century (TRC 2026.0320).
Fig. 9. Enlarged detail of indigo-dyed fabric, showing resist-dyeing technique. Japan, 21st century (TRC 2026.0314).
Fig. 10. Indigo-dyed gown housed in the National Museum of Taiwan History (2003.019.0092.0001).

TRC Intensive Five-Day Textile Course, 22-26 June. For many years the TRC has been running its successful five-day inten...
01/06/2026

TRC Intensive Five-Day Textile Course, 22-26 June. For many years the TRC has been running its successful five-day intensive courses on textiles. They are being taught in Dutch and/ or English by Dr Gillian Vogelsang-Eastwood, textile and dress historian and director of the TRC.

The courses are a mixture of theoretical and practical elements, with an emphasis on trying out the various techniques of textile production (spinning, dyeing, weaving), on holding and examining fibres, textiles and finished items, all in order to learn and understand what is happening and why various combinations take place.

The aim is to make textiles less ‘frightening’ and allow people to look and understand a textile, from virtually any historical period or culture.

The courses are an absolute 'must' for anyone dealing with archaeological, historical and modern textiles, for designers and fashion students, as well as anyone who is seriously interested in all aspects of textile history and production, and simply wants to know and practise more.

Dates for 2026: 22-26 June; 10-14 Aug; 12-16 Oct.

Over the years, the courses have attracted participants from renowned institutes such as the Rijkmuseum in Amsterdam, the British Museum in London, the Centre for Textile Research in Copenhagen, the Netherlands Forensic Institute, as well as commercial groups (Kwantum), but also enthusiasts without an institutional backing from the Netherlands and abroad, who are often just as curious and stimulating as the professionals.

Fees for the full course, including the use of materials, are € 1150.

Course content:

Day 1: Fibre identification

Theory: Introduction to the different types of textile fibres (plant, animal, fur, mineral, artificial, and synthetic).

Practical: Basic fibre identification using senses, burning, staining and microscopic techniques.

Day 2: Spinning and yarns

Theory: Preparation and spinning of main types of natural fibres; the basic spinning techniques: hand spinning; wheel (spindle, spinning); machine spinning.

Practical: Hand spinning and wheel spinning; identification of the main types of spun yarns.

Day 2 (late afternoon): Dyes and dyeing:

Theory: Introduction to the main types of plant, animal, mineral, synthetic dyes and dyeing techniques.

Day 3: Weaves and weaving

Theory: Introduction tothe main types of hand and machine looms (flat, vertical, backstrap, treddle, warp-weighted, draw, jacquard, etc; introduction to the main types of weaves and finishes).

Practical: Identification of the main types of weaves; drawing a simple weave graph; working with different types of simple looms to reconstruct the weaves just looked at.

Day 4 (morning): Weaves and weaving (cont.)

Day 4 (afternoon): Non-woven materials

Theory: Introduction to the main forms of non-woven materials: leather,felt, knitted, crochet, braids, laces, etc.

Practical: Identification of the basic non-woven forms; basic felt making.

Day 5: Decorative techniques

Theory: Introduction to the main forms of decorative techniques:(a) printed (batik, block, plate, roller, screen; computer); (b) applied (appliqué; embroidery; braids, bands and tassels; sequins, spangles, beads; etc).

Practical: Identification of the basic forms of decoration

Remaining dates for 2026: 22-26 June; 10-14 Aug; 12-16 Oct.; in 2027: 22-28 Febr.; 19-25 April; 21-27 June; 23-29 Aug.; 25-31 Oct.
Time: 09.00 - 16.30, incl. lunch and coffee breaks.
Max. number of participants: 9
Min. number of participants: 4
Course language: Dutch and/or English, as required.
Costs: € 1,150, of which 150 euros in advance (non-refundable). The remainder by the first day.
Provided: Equipment, samples, handouts, tea and coffee
Not provided: lunches
Location: TRC, Boerhaavelaan 6, 2334 EN, Leiden, The Netherlands
Registration: Please send an email to the TRC: [email protected] We will contact you with further details.
For further information: Textile Research Centre. Tel. +31 (0)71 5134144 / +31 (0)6 28830428; [email protected]

Study Day Middle Eastern Embroidery, Friday 12 June. The Middle East has long been the home of a multitude of different ...
01/06/2026

Study Day Middle Eastern Embroidery, Friday 12 June. The Middle East has long been the home of a multitude of different embroidery styles, which in many cases hav a long history. Many of these forms have been influenced by techniques, motifs and materials from neighbouring lands and continents. Embroidery was widely used for the wardrobe of the Egyptian pharaoh, Tutankhamun. It was also an important feature of the Byzantine and early Christian courts and religious institutions.

Embroidery was, and still is an important aspect of Palestinian dress, but also found throughout the Maghreb, especially in Morocco and Tunisia. Middle Eastern embroidery has had a significant impact on European styles and techniques, and vice versa, European forms, particularly from the mid-nineteenth century onwards, have deeply affected Middle Eastern decoration.

This study day looks at a wide variety of embroidery types associated with the Middle East. It will include urban, village and bedouin items from Morocco, Tunisia, Egypt, Palestine, Syria, as well as Saudi Arabia and Yemen. The workshop will look at the history, techniques and designs associated with this part of the world. During the day we will also look at developments beyond the Middle East that affected the embroidery in the Middle East, and vice versa.

The lecturer of this workshop is Dr Gillian Vogelsang-Eastwood, director of the TRC and the editor and principal author of the Encyclopedia of Embroidery from the Arab World (Bloomsbury 2016).

Date: Friday, 12 June 2026.
Time: 10.00 - 16.00.
Venue: TRC Leiden, Boerhaavelaan 6, 2334 EN, Leiden.
Instructor: Dr. Gillian Vogelsang-Eastwood
Language: Dutch and English.
Costs: 85 euro. Coffee, tea and materials are provided. Please bring your own lunch
Maximum number of participants: 8. Minimum: 4. If the minimum number of participants is reached, confirmation and invoices shall be send.

Please register in advance: [email protected]

Illustration:
Long cotton panel with a repeating and intricate geometric design in red on a white ground. Fes, Morocco, 20th century (TRC 2022.0956).

Woensdagochtend workshop: Orenburg gebreid kant, 3 juni a.s.. De Orenburg-sjaal is een vorm van Russisch gebreid kanttex...
01/06/2026

Woensdagochtend workshop: Orenburg gebreid kant, 3 juni a.s.. De Orenburg-sjaal is een vorm van Russisch gebreid kanttextiel gemaakt van geitenhaar. Het wordt beschouwd als een van de klassieke symbolen van Russisch handwerk. Traditionele sjaals zijn gemaakt van zeer fijne garens. Net als Shetland-kant ziet het breiwerk er zeer ingewikkeld en complex uit. Het bestaat echter uit kleine en relatief eenvoudige patronen, gecombineerd om een ​​zeer verfijnd resultaat te produceren.

In deze workshop kijken we naar verschillende basispatronen die worden gebruikt in gebreide kant van Orenburg, en we bekijken de verschillende gebruikte methoden. Meer ervaren breiers kunnen heel dunne garens uitproberen.

Iedereen is welkom, maar je moet wel basisvaardigheden hebben in breien (breisteken zijn voldoende). Materialen worden verstrekt. Maar als je je eigen breinaalden wilt gebruiken, kun je die meenemen (maat ongeveer 4 mm).

De workshop wordt gegeven door Alice van Duijnen, die ervaring heeft met veel textieltechnieken sinds ze op 6-jarige leeftijd leerde breien. Ze heeft lesgegeven in breien, haken en weven. Als vrijwilligster bij het TRC werkt ze aan de techniekgerichte Reference Collection.

Voor meer informatie over Orenburg gebreid kant, klik hier.

Datum: woensdag 3 juni 2026.
Tijd: 10.00 - 13.00 uur.
Locatie: TRC Leiden, Boerhaavelaan 6, 2334 EN, Leiden.
Docent: Alice van Duijnen.
Taal: Nederlands/Engels, zoals gewenst.
Kosten: 45 euro. Thee, koffie en materiaal zijn inbegrepen
Maximum aantal deelnemers: 8. Minimum aantal deelnemers: 4. Als het minimum aantal deelnemers is bereikt, ontvangt u een bevestiging en de factuur.
Graag vooraf aanmelden: [email protected]

Wednesday morning workshop: Orenburg knitted lace, 3 June 2026. The Orenburg shawl is a type of Russian knitted-lace tex...
01/06/2026

Wednesday morning workshop: Orenburg knitted lace, 3 June 2026. The Orenburg shawl is a type of Russian knitted-lace textile made from goat under hair. It is regarded as one of the classic symbols of Russian handicraft. Traditional scarves are made of very fine yarns. Like Shetland lace, the knitwear looks very intricate and complex. However, it consists of small and relatively simple patterns, combined to produce a very sophisticated result.

In this workshop we will get our hands on several of the basic patterns that are used in Orenburg knitted lace, and we will look at the different charting methods used. More experienced knitters can try out very thin yarns. Everyone is welcome, but you need to be able to do basic knitting (knit stitches suffices). Materials will be supplied. But, if you like your own knitting needles, you can bring them along (size around 4mm).

The workshop is given by Alice van Duijnen, who is experienced in many textile techniques ever since she learned knitting at the age of 6. She has taught knitting, crochet making and weaving. As volunteer at the TRC she works on the technique-oriented Reference Collection.

For more information on Orenburg knitted lace, click here.

Date: Wednesday, 3 June 2026.
Time: 10.00 - 13.00 pm.
Venue: TRC Leiden, Boerhaavelaan 6, 2334 EN, Leiden.
Teacher: Alice van Duijnen.
Language: Dutch/English, as required.
Costs: 45 euros. Coffee/tea/threads are provided.
Maximum number of participants: 8. Minimum: 4. If the minimum number of participants is reached, confirmation and invoices will be sent.

Please register in advance: [email protected]

Adres

Boerhaavelaan 6
Leiden
2334EN

Openingstijden

Maandag 10:00 - 16:00
Dinsdag 10:00 - 16:00
Woensdag 10:00 - 16:00
Donderdag 10:00 - 16:00

Telefoon

+31628830428

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